MAM
izil Beauty onboards Nora Fatehi as global brand ambassador
Mumbai: Bollywood performer and International icon, Nora Fatehi has been roped as the first-ever global ambassador for izil Beauty, a brand known for their luxurious skincare offering, drawing influences from the rich heritage of Moroccan beauty rituals.
izil Beauty founder Mouna Abassy found Nora to be a natural fit as the brand’s first ambassador, as she epitomizes and embodies the values of the brand with her Moroccan roots, a strong sense of independence, dedication while staying true to her values. The talented performer rose to fame through a determined dedication to perfecting her craft and hard work.
The brand is an ode to the beauty rituals perfected by Moroccan women throughout generations, and as Nora has Moroccan heritage, she felt a personal passion towards sharing with the world the same rituals that she and her ancestors alike have grown up with. izil Beauty uses natural ingredients native to North Africa, such as argan oil, almond oil, shea butter, and lavender and includes a wide offering of skincare, haircare, and body care.
The brand opened its flagship store in 2020 in addition to a newly opened spa in Dubai Mall, and ships worldwide on Tuesday.
Nora Fatehi shares, “It is a great pleasure to be the first global ambassador for a brand that I believe in. When it comes to skincare, we need to be extremely careful, izil uses natural pure ingredients in its formulation, which appealed to me the most. Hailing from Morocco I’ve always been proud of our heritage, izil provides me an opportunity to share our natural, hereditary skin rituals with the world that has been our secret for glowing skin and beautiful hair. “
Founder of izil Beauty, Mouna Abassy says, “Nora Fatehi is a stunning natural beauty, self-made star and diverse talent who achieved international stardom while being proud of her Moroccan roots. She represents Morocco brilliantly both in Bollywood and on a global scale. I knew that, with our collaboration, the Moroccan beauty secrets will take their rightful place in the world.”
Digital
Content India 2026 opens with a copro pitch, a spice evangelist and a £10,000 prize for Indian storytelling
Dish TV and C21Media’s three-day summit puts seven ambitious projects before an international jury, and two walk away with serious development money
MUMBAI: India’s content industry gathered in Mumbai this March for Content India 2026, a three-day summit organised by Dish TV in partnership with C21Media, and it wasted no time making a statement. The event opened with a Copro Pitch that put seven scripted and unscripted television concepts before an international panel of judges, and by the end of it, two projects had walked away with £10,000 each in marketing prize money from C21Media to support development and international promotion.
The jury, comprising Frank Spotnitz, Fiona Campbell, Rashmi Bajpai, Bal Samra and Rachel Glaister, evaluated a shortlist that ranged from a dark Mumbai comedy-drama about mental health (Dirty Minds, created by Sundar Aaron) to a Delhi coming-of-age mystery (Djinn Patrol, by Neha Sharma and Kilian Irwin), a techno-thriller about a teenage gaming prodigy (Kanpur X Satori, by Suchita Bhatia), an investigative crime drama blending mythology and modern thriller (The Age of Kali, by Shivani Bhatija), a documentary on India’s spice heritage (The Masala Quest, hosted by Sarina Kamini), a documentary on competitive gaming (Respawn: India’s Esports Revolution, by George Mangala Thomas and Sangram Mawari), and a reality-horror competition merging gaming and immersive fear (Scary Goose, by Samar Iqbal).
The session was hosted by Mayank Shekhar.
The two winners were Djinn Patrol, backed by Miura Kite, formerly of Participant Media and known for Chinatown and Keep Sweet: Pray & Obey, with Jaya Entertainment, producers of Real Kashmir Football Club, also attached; and The Masala Quest, created and hosted by Sarina Kamini, an Indian-Australian cook, author and self-described “spice evangelist.”
The summit also unveiled the Content India Trends Report, whose findings made for bracing reading. Daoud Jackson, senior analyst at OMDIA, set the tone: “By 2030, online video in India will nearly double the revenue of traditional TV, becoming the main driver of growth.” He noted that in 2025, India produced a quarter of all YouTube videos globally, overtaking the United States, while Indians collectively spend 117 years daily on YouTube and 72 years on Instagram. Traditional subscription TV is declining as free TV and connected TV gain ground, forcing broadcasters to innovate. “AI-generated content is just 2 per cent of engagement,” Jackson added, “highlighting the dominance of high-quality human content. The key for Indian media companies is scaling while monetising effectively from day one.”
Hannah Walsh, principal analyst at Ampere Analysis, added hard numbers to the picture. India produced over 24,000 titles in January 2026 alone, with 19,000 available internationally. The country now accounts for 12 per cent of Asia-Pacific content spend, up from 8 per cent in 2021, outpacing both Japan and China. Key exporters include JioStar, Zee Entertainment, Sony India, Amazon and Netflix, delivering over 7,500 Indian-produced titles abroad each year. The top importing markets are Saudi Arabia, the UAE, Egypt, the United States and the Philippines. Scripted content dominates globally at 88 per cent, with crime dramas and children’s and family titles performing particularly strongly.
Manoj Dobhal, chief executive and executive director of Dish TV India, framed the summit’s ambition squarely. “Stories don’t need translation. They need a platform, discovery, and reach, local or global,” he said. “India produces more movies than any country, our streaming platforms compete globally, and our tech and creators win international awards. Yet fragmentation slows growth. Producers, platforms, and tech move in different lanes. We need shared spaces, collaboration, and an ecosystem where ideas, technology, and people meet. That is why we built Content India.”
The data, the pitches and the prize money all pointed to the same conclusion: India is not waiting for the world to discover its stories. It is building the infrastructure to sell them.
